This is the first English-language account of the modern history of China's art market that explains the radical transformations from the end of the Cultural Revolution, when a market for art and artifacts did not exist, to today.
This is the first English-language account of the modern history of China's art market that explains the radical transformations from the end of the Cultural Revolution, when a market for art and artifacts did not exist, to today.
Kejia Wu is a columnist for the Financial Times Chinese Edition and a trustee of the New York Studio School. She authored The European Fine Art Foundation's China Art Market Report and was awarded Art Market Observer of the Year by ArtReview Asia, LEAP, and The Art Newspaper China Edition. Previously, she was a member of the faculty at Claremont Graduate University and Sotheby's Institute of Art and oversaw Asia projects and strategy at Sotheby's in the office of the CEO. Kejia is a graduate of Yale University and Renmin University.
Inhaltsangabe
Preface & Acknowledgements Acronyms & Names Part I: China's Art Market: A Modern History 1. The Origin of China's Art Market 2. Auction Houses, Galleries, Art Fairs and Private Museums 3. Expectations for the Market Part II: The State and its Art System 4.The Paradox of Two Parallel Art Systems 5.The Role of Arts and Culture in Today's China 6.The Infrastructure of the State Art System and the Party's Strategic Plan Part III: Independent Artists Finding Creative Space 7. Beijing, CAFA and Societal Energy 8.Shanghai, Buddhist Practice, and the Post-Apocalyptic Digital World 9. Hong Kong, Plants and Ten Thousand Things
Preface & Acknowledgements Acronyms & Names Part I: China's Art Market: A Modern History 1. The Origin of China's Art Market 2. Auction Houses, Galleries, Art Fairs and Private Museums 3. Expectations for the Market Part II: The State and its Art System 4.The Paradox of Two Parallel Art Systems 5.The Role of Arts and Culture in Today's China 6.The Infrastructure of the State Art System and the Party's Strategic Plan Part III: Independent Artists Finding Creative Space 7. Beijing, CAFA and Societal Energy 8.Shanghai, Buddhist Practice, and the Post-Apocalyptic Digital World 9. Hong Kong, Plants and Ten Thousand Things
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